Whereas the first albums had more to do with retro futurism, in Anadolu Ejderi (Anatolian Dragons), past and present collide beguilingly as Gaye Su Akyol jumps on the Anatolian wagon, pushing it further with self named title track, setting high expectations via bold synth flash, fierce drum roll, punchy guitar lines and haunting refrain. At last Gaye Su Akyol has delivered a made-to-measure dance track.
One searches greedily for a follow-up to this dancefloor killer. One thinks one has found it in “Gel Yanıma Gel”, which begins with quirky, quavering keyboard flourish and then descends into a dark mood with some great saz riffs. But this is a cover of an old evergreen by Neşat Ertaş, which Gaye Su Akyol gives an introverted twist, unrepentantly depressive, inwardly grooving. Wasn’t Gaye Su Akyol quoted recently in The New York Times as criticizing Altın Gün for merely dishing up Anatolian covers? Well here is Gaye Su, the pot calling the kettle black, as it were.
“Yaram Derin Derin Kanar” (My Wound Bleeds Deeply) is finest kara sevda (black sevdah) – painful black-hued blues, a Turkish specialty. The track ends with a nice albeit all-to-brief arabesk flourish, which begs the question: why are most contemporary Turkish acts (like Gaye Su, Lalaler etc.) so overly sparing with this, their stylistic heritage?